The fashion icon Edward Enninful discusses Today's Society: 'Britain Feels Less Tolerant Now' Than in the 90s.

An unexpected discovery during a tube journey in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the zenith of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that spontaneity."

While Enninful may seem wistful, he is not the only one. Lately, a longing look back of the 1990s has grown intense. However over the last thirty years, Enninful feels a noticeable regression. "In my view, we’re less accepting now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the growth of nationalist groups, the pushback against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the optimism of the late 90s, today a different political personality stands as a possible leader. Furthermore, the British flag, once an symbol of national pride, has become contentious again.

In Enninful's view, the response has long been to celebrate culture in all its variety. This was the guiding principle behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of prominent faces from literature.

"Those in a position of influence should employ it," he asserts, explaining those editorial decisions. "People often debate about immigration; I wouldn't be here if Britain hadn't been a welcoming country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I hope this period will pass."

A New Wave of Consciousness

He finds hope in the next generation: "They are far more conscious than we were. They talk about unconscious bias – I was not even aware what that was."

The beginnings of his career would define a trailblazing career characterised by fearlessness and inclusivity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing Black models, curvy models, an octogenarian, and individuals from all walks of life. Importantly, sales grew.

"Ignoring large portions of the population, it’s not just that you’re failing to represent – it’s a poor strategy," he states.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his first major project since departing his previous role. He expresses a desire to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the attorneys, the leader. Then we came to England, without funds, and I found myself on the margins. I was painfully reserved. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a unique perspective between worlds."

In contrast to the popular image of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His journey has included its share of challenges, including openly discussed struggles with depression and substance use.

He has also endured significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so afraid to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This refusal to be typecast has led him beyond the industry that made his name. He is now curating a significant 1990s exhibition at Tate Britain, bringing together work by a roster of defining artists and photographers from the era. The show, he says, aims to capture the decade's artistic collaboration – and highlight those who lacked a spotlight at the time.

"Galleries often failed to promote the right artists because they weren't of the traditional credentials," he states.

This venture itself functions with a novel strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an event, a podcast? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Now, Enninful operates as one of the world's most respected creative power brokers. His path, he believes, is a demonstration to the power of pursuing your passions.

What would the younger Edward react to the Edward of today? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my entire life. But I am unstoppable once I’ve decided to do something."